Paola Angelini

Biography

Paola Angelini - Statement

What do I mean by painting practice? It is like asking a blind man to explain how he conceives of visual reality in the dark. It is a different way to touch other things; the material of the painting is like the description the blind man would give to his dark vision. The definition of essence has always been the goal of every philosophy; when this type of definition is not satisfactory or seems insufficient we revert to the idea of propriety. I happen to proceed from this seeming insufficiency through the means of painting.
The time in painting spent mixing historical sedimentation continually creates the tentative possibility to enter this concept of darkness.
Making images with paint has the distinction of building within a two-dimensional “space.” The limits and infinite possibilities touch at a single point in a cycle and generate constant interior
struggle.
There is a sense of urgency in painting, confined in the area delimited by the canvas, within which everything is funneled and converges. Necessity is driven by reasoning developed through images
that must find a language able to contain continuous mental work both conscious and unconscious, which has as its purpose the construction of new “visions.”
The need to make paintings is driven by a desire for immediate withholding of judgment on things, for a control of consciousness, and at the same time its suspension; it contains the potential
for physical work in the choosing of the possibilities of a space.
That is why, as Dumas says, “The first thing may be the last.” Abstracting images in their perfection to create a different reality is the foundation that must not give way under our feet. Searching
in circles and leaving an opening for images means that we have a way to enter and continue our research of painting, and by the practice of painting.